Roger Kisby, Getty Images Toro y Moi's Chaz Bundick has entrusted his dance…
- Posted on Sep 17th 2010 11:00AM by Jesse Ship
"It feels surreal to be nominated and included in the Short List again," Snaith tells Spinner. "Last time, I definitely felt like I was this weirdo outsider doing his own thing, and had no chance of winning. I never saw myself as a real contender being among the other nominees. Now, I'm thinking that I won't get it because I was already a winner."
"I don't want to be nervous about this," he adds, "as long as I can convince myself that I have no chance of winning, I'll be happy."
But Caribou's success is just the kind of story that Polaris strives to produce. After all, it is arguable that this year's nominated album, 'Swim,' would not have been nominated if it hadn't been produced with some classy recording accoutrements he bought with the 2008 prize money.
"I usually mix my records at home, but I was able to afford a proper studio this time," he says. "I was also able to buy some new instruments and to hire other musicians like Luke Lalonde from Born Ruffians, and a horn section -- winning definitely had a direct impact on making this album."
Other quirky album highlights include Tibetan singing bowls, which Snaith picked up on a trip through China while making the record. "I don't search for some exotic texture, I find them more by accident or coincidence -- like the weird little Ethiopian flute featured on 'Odessa.'"
While the 2008 win has brought him acclaim and exposed his music to entirely new audiences, it was difficult to measure the success since he immediately went into hiding, and production mode, following the win. "I wasn't doing any interviews or shows after that. When 'Swim' came out, I did go back to that world, but there was such a gap between the two that it's hard to say."
And you'll be surprised to hear that, unlike some 'math rockers' or mad scientist-style producers, math has very little to do with Caribou's music.
"I don't generate any kind of equations for my music, but like math, music is very much trial and error," says Snaith. "I'll wake up in the morning and work on it for hours before anything interesting really happens."